Mikhail Treister. The Treasure of Silver Rhyta from Erebuni. I. The Calf-Head Rhyton THE TREASURE OF SILVER RHYTA FROM EREBUNI I. THE CALF-HEAD RHYTON Mikhail Treister, Institute for Ancient Near Eastern Archaeology, Berlin 1.Introduction The hoard in „a big jug“, consisting of three silver rhyta, a silver goblet (ill. 1) and the fifth, now missing object, was found during the construction works and the foothill of the Erebuni citadel in 1968. The silver vessels were preserved in a jug in a flattened condition1. The scholars dated the vessels differently but in general frames of the 5th to the early 3rd centuries BC. The dating of the Erebuni Treasure is evidently depends to a great extent on that of the rhyton in the form of a head of a young calf (ills. 1, 4; 2–11)2. B.N. Arakelyan, as well as F. Ter-Martirossov and S. Deschamps proposed a date within the 4th century BC3. Following I. Marazov4, Z. Hacătrian and A.Z. Markarian attributed it as an article of Greco-Persian silver plate of the late 4th – early 3rd centuries BC, however, without any serious arguments confirming this date5. Futher on this dating was accepted without any special analysis of its grounds by D. Stronach6. Also L. Summerer suggests the date of the late 4th century BC for this rhyton7. Because of the fact, that after their first publication, the rhyta from Erebuni, though often discussed in the literature, basing on the descriptions published by B.N. Arakelyan8, as well as catalogue entries and photographs, i.e. the vessels has not been examined de visu, I was able to study and photograph them in March 2010 and I am able thus to present here, due to the restrictions of the volume of the paper, only some brief results of my observations and analysis of one of the rhyta9. 2.The calf-head rhyton. Iconography and composition A rhyton is shaped as a head of a young calf with a funnel, decorated with a relief figural frieze (ills. 2–4). The horizontal edge of the funnel is formed by a soldered silver band, the upper surface of which is decorated with a chiseled frieze of Ionian kymation and a row of circles from the inner side (ill. 6). On the forehead of the calf there are chiseled the intertwined ringlets of wool, with individual strains marked inside with curved parallel incisions. In the center of the forehead the wool is curved, forming a fragmentary preserved whirl-rosette (ills. 4, 2; 5). A small conical horn has been preserved 117 И о о о я only on the right side. Along its basement a band of parallel oblique notches is marked (ill. 5, 1). On the right side there is also preserved the basement of the missing ear (ill. 4, 1). Large eyes with lacrimal sacs are framed with rims, showing the lower and the wider and flattened upper eyelids. Below the lower rim there is chiseled s zigzag line, marking the eyelashes. The upper ridge is accentuated with oblique parallel notches. Over the eye there are four curved rims, contoured with chiseled grooves (ills. 2; 4, 1; 5). Fifteen pairs of grooves in the form of arcs are decorating the bottom part of the rhyton – they are arranged symmetrically along the long axis. The grooves became smaller towards the mouth of the calf (ills. 2–3; 4, 3). A circular hole for draining the liquid has been punched off from the outer side below the mouth (ill. 4, 3). The frieze of the rhyton includes the images of four figures (ills. 7–10) executed in the repoussé technique (ill. 6, 1) with additional chiseling from the front. It is evident, that the main protagonist is a bearded man sitting in profile to the left with the head turned in three-quarter to the right, shown on the level of the calf’s forehead (ills. 4, 2; 7). Two standing female figures on the both sides of it are addressed to him (ills. 8–9). On the opposite side of the frieze there is represented a seated female (ill. 10). The opinions have been expressed, that the scene on the rhyton shows a funerary banquet, whereas the male figure (ill. 7) was associated either with an Achaemenid satrap10, or with unknown hero11 or with Asclepius, in the latter case, the female figures – with his wife, Epione, and daughters, Hygieia and Panacea12, or that it was a scene of symposion, whereas the male figure is associated with Dionysos13. The attribution of the images on the rhyton frieze, as well as the interpretation of the scene, indeed cause difficulties. According to L. Summerer and D. Sttronach, the seated man is holding a staff in his hand14. I can hardly agree with that. Indeed it is evident that on his knees there is shown a snake with a curved body, the head of which he is holding with his left hand. The curves of the body and the head of the snake are clearly seen on the rhyton as well as on the detailed photographs of the man (ills. 7; 11, 1) in contrast to a rather distorted image on the drawing published by D. Stronach15. If one bases on this attribute, than the prototype of the person, shown on the rhyton could have been Asclepius. Indeed in the Greek art of the first half of the 4th century BC there are known images of Asclepius, seated on a throne. On the relief, probably originating from the Athenian Asclepion, kept in Vatican and dated to ca. 400 BC, he is shown with a phiale in his right hand, and in front of him there is represented a female figure in peplos, which 118 Mikhail Treister. The Treasure of Silver Rhyta from Erebuni. I. The Calf-Head Rhyton is attributed rather as Epione, than Hygieia16. Asclepius was also represented with the two standing females on his both sides, as on the reliefs from the Athenian Asclepion, now in the National Museum in Athens, dated to ca. 400 BC17 and on that, dating to the mid-4th century BC18, however, I am not aware about the images, showing a snake on the knees of the god. The butt end of the seat of the throne is decorated with a rhombus-net and a palmette at one of the ends (ills. 3, 1; 7). The finial of the chair back in the form of a swan’s head (ills. 3, 1; 7) finds prototypes already in the Attic black-figured vase-painting19, in the late 6th century BC reliefs20 and on the terracotta reliefs from Lokjroi of the first half of the 5th century BC21. One can find a similar decoration of a throne on the Achaemenid cylinder seal of rocky crystal originated from Iraq, and kept in Zurich22. The right arm of the man is bent in the elbow and raised up. The thumb and the two fingers are raised up and extended in a gesture of receiving a phiale (ill. 7). It is clear that he is ready to get the bowl, which is hold by one of the female figures standing before him (ill. 2). The parallel to this gesture of transfer occur on a chalcedony scarabeoid in Oxford, which belongs to the Arndt Group, according to J. Boardman23. A woman, holding a jug in her right hand and a phiale – in the left, is approaching a man seated on a stool, who stretches out his hands, ready to take the vessels. A comparable gesture may be seen also on a chalcedony scarabeoid of the „Pendants Group“, now in Baltimore. Two standing figures are shown – a man and a woman. In the raised up and stretched forward hand of a woman there is a phiale24. To the right from the seated male figure there is shown in profile to the left a woman, playing a double flute (ills. 3, 1; 8; 11, 5). According to L. Summerer, she wears a thin belted peplos „mit feinen Falten“25. In reality, she wears over the peplos a short cape with V-shaped cutout in the front and without sleeves, the wavy lower edge of which is shown at waist level. The woman holding a phiale, which is shown in profile to the right on the left side of the seated man and facing him (ills. 2; 4, 1; 9; 11, 2. 4), is conventionally designated by L. Summerer as a Persian, stating that she wears a „persisches Faltengewand mit reicher Verzierung am Saum und Ärmel“26, in contrast to “the Greek clothes” of the women, playing a double flute and a kithara27. D. Stronach, on the contrary, characterizes the dress and the pose of the woman, holding the phiale as a combination of Attic and Achaemenid features28. The essential peculiarity of the dress, which wears the woman with the phiale (ills. 9; 11, 2), is the presence of sleeves in her cape and the rich decoration of the latter. Her dress varies from the clothes of the women shown on the 119 И о о о я gems of the so-called Greco-Persian style29, on which it is clearly seen, that the female dress has long and wide folded sleeves30. At the same time, the treatment of the lower part of the dress with symmetrical folds finds comparanda on the images of woman on the Achaemenid cylinder seals31 and on a gold finger ring from the necropolis of Pydne in Macedonia32. The manner of holding a phiale on the upraised fingertips (ills. 2, 1; 9; 11, 2) varies from that of holding the bowls on the palms of the hands, as they were shown in the Greek Archaic and Classical art33 or on the reliefs of Apadana in Persepolis34 and shows clear Eastern routes35. It is paralleled in the “Greco-Persian” glyptics – on these gems there are shown women, holding phiale exactly in such a manner36. In the same way there are holding phialai also the women seated on a throne and carved on the bezels of the gold rings: from the necropolis of Pydna in Macedonia37 and from the burial of the third quarter of the 4th century BC no. 9/1969 in Vani (Colchis)38. It is worth noting that on the stelae from Hellespontic Phrygia (including those from Daskyleion)39, on the fresco from the tomb at Karaburun in Lycia, dating to ca. 470 BC40, on the relief of a marble sarcophagus from Mylas in Caria, which is allegedly associated with the tomb of Hekatomnus and is dated correspondingly to 370s BC41, on the grave stele from Saqqara iu Egypt42, as well as in the Asia Minor toreutics (a silver girdle from the burial no. 24/2004 in Vani, dating to the mid-4th century BC43) only men are holding phialai in such a way. During the Achaemenid period to hold one’s bowl on three fingertips serve to declare one‘s affiliation to the Persian dominant „ethno-class“44. The hairdo of the woman with the phiale on the rhyton from Erebuni (ills. 9; 11, 2) varies from those of the women shown on the “Greco-Persian” gems, on which all of them are represented with long braids. The right arm of the woman holding the phiale is shown at an unnatural angle, thus stressing a desire of the master to show it exactly that way, bent at the elbow and lowered across the waist (ills. 2, 1; 9). The right forearm seems to continue the line of the upraised left forearm, being in the same vertical plane. Such gestures in the glyptics of the “Greco-Persian” style are unknown. A certain parallelism may be seen in the images of some of the women represented on the carpet from the Pazyryk barrow no. 5 – they put the hands of the right arms, bent in the elbow, on the left forearm, with some object, their holding in the left hand45. The cords with tassels on the ends (?), marked by oblique parallel incisions, dropping down vertically from the waist to the feet of the female figure, holding the phiale (ill. 9), find parallels in the images on a series of the figural so-called Syro-Achaemenid cosmetic bottles46, in particular, on the bronze 120 Mikhail Treister. The Treasure of Silver Rhyta from Erebuni. I. The Calf-Head Rhyton one from the Foroughi collection47, on the ivory piece acquired in Aleppo and kept in Oxford48, as well as on a bronze figural stand of an incense-burner from a tomb in Jordan49, on the limestone relief from Egypt in the Brooklyn Museum50, and finally on the gems of the “Greco-Persian” style51. The rosettes on the sleeves of the upper part of her dress (ills. 9; 11, 2) deserve a special attention. In such a way there were most probably reproduced the plaques, fixing the fold of the Ionian chiton. Such plaques fixed the folds of the chiton with so-called Scheinärmeln52. They were reproduced in the Classical Greek sculpture, at least from the mid-5th century BC and to the second half of the 4th century BC: the folds diverge like rays or arcs from small round plaques. Although examples, showing such details of the sleeves are known from Attica53, the majority of sculptures with such features, known to me, originate from Asia Minor54 and Eastern Mediterranean (Rhodes55, Sidon56). In this connection I cannot but mention the similar treatment of the chiton sleeves on the marble statue of Persephone found in Persepolis57. I would also point to a close similarity in treatment of the folds as rays diverging from the plaques on the figures shown on the column bases of the temple E of Artemis in Ephesos58. In a similar way there are also shown the folds on the sleeve of Aphrodite on the lost clay off-print of the mold with the images of Aphrodite and Eros, once kept in Berlin and dated to ca. 420 BC.59. Between the two standing female figures on the frieze of the Erebuni rhyton there is shown in profile to the right a woman, sitting on the throne and playing a kithara (ills. 2; 10; 11, 3). The image of woman, sitting on a throne or a stool and playing lyre or kithara was extremely popular in the Late Archaic and Classical Greek art60. A special importance deserves the shape of the kithara with a rectangular sound-box (ill. 10). In the vase-painting the kitharas of this form appears after about ca. 360 BC, it is characteristic for the South Italian vase-painting and is therefore designated as Italiot kithara61. It should be, stressed, that the kitharas with rectangular sound-boxes, represented on the South Italian vases have more elongated proportions62. Moreover, in the vase-painting the musicians are always holding kithara either strict or almost vertically, but not horizontally, as in the scene discussed on the rhyton. Much close in proportions is the kithara, also having a rectangular sound-box and shown in the hands of one of the Muses on the relief from Mantineia, dating to the third quarter of the 4th century BC, which probably originally decorated the basement of a sculpture group, which some of the scholars consider as the work of Praxiteles63. Another example of kithara with a rectangular sound-box is shown in the hands of Bes on the relief, originating from Egypt and once kept in a private collection in New York64. 121 И о о о я The scene on the rhyton frieze could have been interpreted as a symposion. Such images as a standing female flutist and a seated woman, playing kithara, are shown in the scenes of symposion on one of the sides of the sides of a limestone sarcophagus from Golgoi on Cyprus, dating to second quarter of the 5th century BC65 and on the recently found fresco in the tomb near Agios Athanasios to the west from Thessaloniki, dated to the last quarter of the 4th century BC66. The female flutists were shown in symposion scenes on the reliefs from Asia Minor and Cyprus dating from the last quarter of the 6th to the first half of the 5th century BC67, in the Attic red-figured vase-painting of the 5th century BC68, however, much more widespread such images (in contrast to the men, playing flute69) became already in the 4th century BC70. Already on the Archaic reliefs the seated female kithara-players were shown in the scenes of symposion71. At the same time the central male images in the scenes of symposion or funeral banquet both in the Classical and in the Hellenistic72 art were always shown reclining – the protagonist of the frieze on the rhyton from Erebuni, which is shown not reclining, but seated (ill. 7), stands apart against this background. The overall impression emerges, that the images presented on rhyton, have prototypes in the Greek art. At the same time the toreut includes in the frieze the images, which are unusual for such scenes in the Greek art: the man, whose iconography partly goes back to the image of Asclepius and a standing woman, holding a phiale, adopted primarily from the circle of images of the “Greco-Persian” style, known to us, first of all, in glyptics. The same was most probably the source of the gesture of transfer of the phiale from the woman to the man (ill. 2). According to J. Boardman, who has already mentioned the borrowings of the images of the „Greco-Persian art“ in the scene on the rhyton73, the vessel is a a “western” workmanship, though what exactly is meant under the term “western” is not cleared by him. To my mind, the combination of the elements of the composition typical for the scenes of symposion with the citations from the Greek art with the elements and gestures adopted from the works of the „Greco-Persian“ style, allows to suggest its manufacture in one of the peripheral workshops of Asia Minor, in the contact zone of Greek and Achaemenid civilizations. From that point of view the rhyton was really most probably created to the west or south-west from the place, where it was found. 3.Animal headed rhyta. Distribution area Given its shape, the Erebuni rhyton belongs to a rather compact group of rhyta, made of precious metals (they are executed in the form of a calf or 122 Mikhail Treister. The Treasure of Silver Rhyta from Erebuni. I. The Calf-Head Rhyton deer head), with the majority of finds originating from Thrace74. Outside the Western Pontic area the finds of such silver rhyta75 with relief scenes on the necks, are known in the west (Trieste76), in the Caucasus (Kazbegi77) and in Asia Minor (allegedly from the hoard found in the vicinities of Sinope78). Despite their proximity in shape the silver rhyta discussed show rather important variations, both in the details of the shape, and especially in the style of the relief images. One is struck, in particular, by the fact that some of the rhyta are equipped with handles, while others, like the rhyton from Erebuni – do not have it. To the latter belong also the finds from Trieste, Rozovets, Poroina and Zlatnitsa – Malomirovo. From the rhyta of this group most similar to the piece from Erebuni in its shape and details of treatment of the calf head – the chnace find from Poroina in the south-west of Rumania, which is generally dated to the 4th century BC79. H. Luschey however has not excluded the possibility that the rhyton from Poroina was manufactured already in the early 4th century BC80. The stylistic comparison of the images on the Poroina rhyton, on one of the jugs from the Rogozen Treasure and other toreutic items from Tharce, made by C. Ewigleben, who came to the conclusion, that all of them were manufactured in the same workshop in Western Thrace in the second half of the 4th century BC81, seems convincing to me. This point of view was adopted also by other scholars82. Even more close parallel to the rhyton from Erebuni represents the vessel from Kazbegi, the matter of fact already mentioned in the literature83 – the similarity reveals in a certain provincialism, which reflected, in particular, in the distortion of poses and in their somewhat primitive modeling. These features give ground to suggest a different manufacturing center than for the rhyta, probably also of Asia Minor production, now in the G. Ortiz collection and in Miho Musseum. 4.The dating of the rhyton from Erebuni The rhyta under discussion were dated in frames of the 4th – early 3rd centuries BC, whereas it is clear, that some of them could belong already to the early 4th, if not late 5th century BC84. Regretful, up to recently, when such rhyta had been found in 2005 near the villages of Malomirovo and Zlatnitsa85 and in 2007 in Dalakova Mogila86 in Thrace, most of the examples are represented by the chance finds. The rhyton from one of the barrow-mounds in the area of Rachmanlij (Rozovets)87, originates from the 1879 excavations of the Russian governor of Plovdiv, baron Lüdingshausen-Wolff – this burial complex was partly reconstructed by B. Filov88; it yielded the details of horse-harness of the first half of the 4th century BC89. Basing on this observation, M. Pfrommer is dating the burial with the rhyton to the first half of the 4th century BC.90. The 123 И о о о я burial in Dalakova Mogila, probably that of one of the Thracian dynasts, who owned aa gold finger ring with a portrait image on the bezel and the inscription „ (belongs to) Seusa(s), son of Teres”91, is dated by the Thasian stamped amphoras and the red-figured vases to the first quarter of the 4th century BC92. The red-figured pelike dates the burial in Malomirovo – Zlatnitsa to the mid4th century BC93. What about the rhyta from the Ortiz collection, there are grounds to associate them with a hoard, two parts of which appeared in the antiquities market in 1970s – early 1980s. The first part („Black Sea Hoard“) was acquired by the Ashmolean Museum in Oxford and by one of the English private collectors94. C. Kraay and P.R.S. Moorey came to the conclusion about the dating of the hoard to ca. 420 BC95. A very similar in composition hoard appeared also in the antiquity market in Vienna („Silberschatz vom Schwarzen Meer“)96. There are grounds to suggest, that both the “Oxford” and the “Vienna” “hoards” are part of one and the same treasure, which included also the vessels, acquired by G. Ortiz. The study of coins from these both parts of the treasure leads to the conclusion, that it was hidden approximately in 400 BC97. There exists however an opinion, that these were two separate hoards, which were found in the vicinities of Sinope within a few decades98, which do not change significantly the terminus ante quem for the rhyta. Concerning the possible historical context, leading to the hiding of the hoard, various viewpoints have been expressed, ranging the dating from 40199 to 395 BC.100. Thus, apart from the finds in the Panagyurishte Treasure101, which given the details of decoration of handles and the style of the figural images, should be treated separately, up to nowadays, there are no weighty arguments that the rhyta of the type discussed originate from the complexes, later than the middle of the 4th century BC. Correspondingly, a doubt arises on the validity of the dating of the rhyta from Poroina and Kazbegi to the late 4th or even to the early 3rd century BC, proposed by some of the scholars. The analysis of the subject, iconography, elements of composition and decoration of the frieze of the rhyton from Erebuni also give us no grounds to date the vessel later than the middle – third quarter of the 4th century BC. 5.Conclusion. The dating of the Erebuni Hoard Already the publisher of the Erebuni Treasure considered, that it was hidden as a result of an enemies’ raid either, which seems more probable to him, at the time of the abolition of the Achaemenid rule over Armenia in the late 330s BC102. Z. Hacătrian and A.Z. Markarian, followed by D. Stronach, suggest that the hoard was hidden not earlier than the beginning of the 3rd 124 Mikhail Treister. The Treasure of Silver Rhyta from Erebuni. I. The Calf-Head Rhyton century BC103. As it is seen from the analysis given above this dating of the complex is completely based on the date, suggested by these scholars, for the calf-headed rhyton, which has not been justified by them. The dating of the complexes with the finds of silver rhyta of the type discussed in frames of the late 5th/early 4th to the middle of the 4th century BC and the iconographic parallels to the images of the frieze of the Erebuni rhyton allow to date it not later than the middle or the third quarter of the 4th century BC. In its turn, this date does not contradict to the suggestion of the possible hiding of the Treasure in ca. 330 BC, thus, it is most probably more or less simultaneous to the hoard from Pasargadae, which was also hidden in a clay vessel104 and most probably, as the latter, marks the fall of the Achaemenid Empire. Notes: 1 1971, 143–158; Moorey 1980, 141–142; Cat. Nantes 1996, 197–201, nos. 181– 183; Hacătrian, Markarian 2003, 9–20; , 2007, 190–191, pls. CI–CIV; Stronach 2011, 251–274. 2 1971, 143, no. 3; 149–152, figs. 6–9; 1974, 36, figs. 6; 1976, 44, pl. 59; 1978, 57, fig. 53; Pfrommer 1983, 270–271, fig. 34–35; 274, 279; Cat. Venice 1987, 59, no. 69; 1988, 54–56, pl. IXA (above); Goldman 1991, 96, fig. 34; 98 (detail – the female figure with a phiale with an erroneous remark that it is shown on the rhyton with a rider!); at. Nantes 1996, 176 (ill.), 197, no. 181; Ebbinghaus 1999, 398, 401; Boardman 2000, 187, fig. 5.68a–d; . 2002, 78–79, no. 21; Hacătrian, Markarian 2003, 16–20, fig. 7; Summerer 2006a, 136–143, pls. 1, 2; 2, 2; Manassero 2008, 138, no. 8; 163, pl. XLIII; Miller 2011, 107–109, fig. 9; Stronach 2011, 264–269, figs. 11–13, 15. Erevan, Erebuni Museum, inv.-no. 21. Ht. 19,2 cm. L. 15,5 . Funnel: 9,9 8,6 cm. W. max. 7,22 cm. Hole for draining liquid: dm. 0,4 cm. Thk. of the sheet in the area of the bull’s eye: 0,1 cm. Silver; cast, forged, soldering, repoussé, chiseling, partial gilding. Wt. 452,1 g (cf. in the previous publications: 460 g). Silver standard 900. 3 1971, 151; Ter-Martirossov, Deschamp 2007, 70. 4 1974, 36. 5 Hacătrian, Markarian 2003, 20. Cf. the dating of the rhyton by N. Manassero to the second half of the 4th century BC (Manassero 2008, 141). 6 Stronach 2011, 270. 7 L. Summerer (2006a, 139) is dating the rhyton from Erebuni to the same period as the rhyton from Kazbegi, whereas in the dating of the latter, she is basing on the opinions of I. Marazov and M. Pfrommer (see Summerer 2006a, 139, n. 41). 8 The only exclusion ist he article by D. Stronach, which was in print, when I was preparing my paper and was kindly given in my disposal by the author. Cf. the description and analysis of the bull-headed rhyton: Stronach 2011, 264–269. 9 I would like to express my sincere gratitude to the director of the Erebuni Museum, G. Gyurdzhyan for possibility to study the vessels from the hoard, found at the foothill of the Erebuni citadel. 10 1988, 54–55. 125 И о о о я 11 F. Ter-Martirosian, in: Cat. Nantes 1996, 201. 12 Hacătrian, Markarian 2003, 18. 13 1976, 55; Summerer 2006a, 137; Stronach 2011, 269. 14 Summerer 2006a, 136; Stronach 2011, 265. 15 Stronach 2011, 264, fig. 10. 16 LIMC II, 874, no. 82, s.v. Asklepios (B. Holtzmann). 17 LIMC II, 872, no. 60, s.v. Asklepios (B. Holtzmann). 18 LIMC II, 873, no. 71, s.v. Asklepios (B. Holtzmann). 19 See, e.g., Baker 1966, 277, fig. 437; col. pl. XV; Richter 1966, pls. 85, 91. 20 See, e.g., the relief from the Harpy Tomb: Baker 1966, 264, fig. 412; Richter 1966, pl. 100. 21 See, e.g., Baker 1966, 267, figs. 416–417. 22 Boardman 2000, 159–160, fig. 5.8; Miller 2011, 101, fig. 5. 23 Zazoff 1983, pl. 41, 4; Abb. 50c; Koch 1992, 247, 249, fig. 176; Boardman 2000, 171, 172, fig. 5.41; Boardman 2001, 313–314, pl. 880; Llewellyn-Jones 2010, 168, 169, fig. 15.1. e; Miller 2011, 102, 104, fig. 9. 24 Boardman 2001, 316, pl. 892; Llewellyn-Jones 2010, 168, 169, fig. 15.1f; 170. 25 Summerer 2006a, 136. 26 Summerer 2006a, 136. 27 Summerer 2006a, 137. 28 Stronach 2011, 266. 29 On this term, see: Gates 2002. 30 Goldman1991, 95–97, figs. 23–32; Koch 1992, 247–249, fig. 174–176; 250, fig. 179; Boardman 2001, 310, 317, pls. 854, 879, 880, 891, 892, 903; figs. 283, 289, 294, 297; LlewellynJones 2010, 169, fig. 15.1b. e. f; 172, fig. 15.2a-b; Gates 2002, 113, fig. 6; Christie‘s New York. Antiquities, 4 June 1999, lot 81. 31 The cylinder from the collection De Clercq, Louvre: Koch 1992, 246–247, fig. 174; Paspalas 2000, 539, fig. 7; Kaptan 2002, 34, n. 34 with lit.; Moorey 2002, 208–209, fig. 2; Brosius 2010, 143–144, 149, fig. 13.9; Lerner 2010, 153, 155, fig. 14.2. – The cylinder in the Museum of Buffalo: Lerner 2010, 153, 154, fig. 14.1. 32 Paspalas 2000, 532, fig. 2; Lerner 2010, 155, fig. 14.3. 33 See, e.g., on the relief with a scene of symposium from Assos: Dentzer 1982, 576, no. R 66, fig. 330; ThesCRA II, 2004 s.v. Le banquet en Grèce (P. Schmitt Pantel, F. Lissarague), 243, no. 164; Baughan 2011, 29, n. 64 (with lit.); 31, fig. 23; Miller 2011, 113, fig. 17. – The relief from Thasos: Baughan 2011, 29, fig. 19; Miller 2011, 114, 115, fig. 18. The rare exclusion is a scene on a terracotta relief from Lokroi: Miller 2011, 107, 109, fig. 15; 126, n. 34 with lit. 34 Abka-i-Khavari 1988, 137, fig. 13. 35 See in detail: Miller 2011, 98–100. Cf, for example, the image in the scene of „a garden banquet“ on the relief from the palace of Assurbanipal in Nineveh: Reade 1995, 42, fig. 7; 53, fig. 23; Baughan 2011, 25, 27, fig. 15; Miller 2011, 100, fig. 5; 122, n. 10 with lit. 36 Goldman 1991, 95–97, figs. 24, 29; Koch 1992, 247–249, figs. 176–177; Boardman 2001, 310, 317, pls. 854, 880, 892; fig. 283; Llewellyn-Jones 2010, 169, fig. 15.1b. e. f; Gates 2002, 113, fig. 6. See also scarabeoid, acquired in Kerch. State Hermitage, inv.-no. 427: . . 126 Mikhail Treister. The Treasure of Silver Rhyta from Erebuni. I. The Calf-Head Rhyton 2004, 33, no. 24. 37 Paspalas 2000, 532, fig. 2; Lerner 2010, 155, fig. 14.3. 38 1976, 135–142, 232, pls. 132, 4; 133, 4; Lordkipanidze 1991, pl. 32.1; Cat. Bochum 2001, 423, no. 406a; Cat. Berlin 2007, 84; Kacharava, Kvirkvelia 2008, 169, pl. 31, b; Miller 2011, 105, 107, fig. 12. 107, fig. 12. 39 Baughan 2011, 26, 30, fig. 20; Miller 2011, 110–112, fig. 16. 40 Mellink 1972, pls. 58–59; Dentzer 1982, 571, no. R 34, fig. 224; Boardman 1990, 128, pl. 12b; Özgen, Öztürk 1996. 47, figs. 88–89; Boardman 2000, 200, fig. 5.84; Cat. London 2005, 46, fig. 14; Miller 2011, 96, fig. 1; 100. 41 Brunwasser 2011. 42 Mathieson et al. 1995, 27, fig. 3; 30–31; 40–41, pls. V–VI; Boardman 2000, 178, fig. 5.58; Paspalas 2000, 540–541, fig. 8; Kuhrt 2010, 870–872, § 17.38, fig. 17.11; Wasmuth 2010, 536, fig. 50.1; 540–541: first half of the 4th century BC; Miller 2011, 106, fig. 14; 107. 43 Vickers 2008, 42 (ill. above); Kacharava, Kvirkvelia 2009, 293, 294, fig. 48d. 44 Miller 2011, 98 with the commentary to the description of this custom by Xenophon (Xen. Cyr. 1.3.8). See on that matter also Tuplin 2011, 155. 45 Goldman 1991, 92, fig. 18; 94; Lerner 2010, 158, fig. 14.6. 46 Culican 1975, 100–112, pls. XIII, XV, XVIIb, XIX, XXIIIa. 47 Culican 1975, 103, fig. 9, pl. XXIIa; Goldman 1991, 87, fig. 8; 92; Koch 1992, 245–246, fig. 173. 48 Culican 1975, 109, fig. 8b, pl. XXb; Moorey 2002, 214–215, fig. 5. 49 Kahil 1986, 103–110, figs. 1–2, pl. XVI; Goldman 1991, 89, fig. 14; 93–94; Moorey 2002, 214. 50 Culican 1975, 109, fig. 8a; pl. XXa; Goldman 1991, 88, fig. 12; 93; Koch 1992, 242, fig. 171; 244. 51 They are especially clear seen on the gem, which was earlier kept in the Borowsky collection in Toronto,: Koch 1992, 248–249, fig. 177; Miller 2011, 103, 104, fig. 10; 124, n. 23. 52 Pekridou-Gorecki 1989, 74, fig. 47. 53 Kosmopoulou 2002, 96, 231–232, no. 55, fig. 87 (second half of the 4th century BC). 54 Figures on the column bases of the temple E of Artemis in Ephesos: Lullies 1960, 78-79, fig. 223; Rügler 1988, 69–73, pls. 13, 1-2; 14, 2 (320/310 BC); Webb 1996, 80–82 with lit. (late 4th century BC). 55 Grave stele of Tamaristo and Krita, late 5th century BC: Lullies 1960, 67–68, fig. 185. 56 The sarcophagus with mourning female figures from the royal necropolis of Sidon, ca. 360 BC: Lullies 1960, 74, fig. 209; Fleischer 1983, 17, no. B 2, B 4, pl. 25; 27. 57 Schmidt 1957, 66–67, pls. 29–30; Gauer 1990, 31–65, fig. 1; 3; Boardman 2000, 111, fig. 3.32: ca. 450 BC; Cat. Speyer 2006, 160–161. 58 See above note 54. 59 Cat. Baltimore 1995, 151–153, no. 17; Cat. Berlin 2002, 467, no. 325. 60 See, e.g., Richter 1966, pls. 188, 214; West 1992, 55, pl. 15; Cat. Baltimore 1995, 206–210, nos. 44–45; Bundrick 2005, 15–17, figs. 5–7; 24, fig. 12; 27, fig. 14; 94, fig. 58; 100, fig. 60. 61 Maas, Snyder 1989, 175–178, 192–193; West 1992, 56. 62 Paquette 1984, 104–105, no. C4; 106–107, no. C6; 114–115, nos. C22–23; 126–127, nos. 127 И о о о я C48–49; West 1992, 55–56, pl. 17. 63 Ajootian 1998, 122–123, fig. 68; Rolley 1999, 253, fig. 250; 254, n. 89 with lit. (ca. 330 BC); Kosmopoulou 2002, 147–150, 248–251, no. 63 with lit. on p. 251, fig. 107. 64 Parlasca 2009, 252, fig. 11a. 65 On the sarcophagus from Golgoi on Cyprus: Dentzer 1982, 568, no. R 6, fig. 185; Karageorghis 2000, 204–205, no. 331, view 3. 66 Tsimbidou-Avlonti 2002, 94, pl. 22A–B; Cat. New York 2004, 149–150; 151 (ill. In the center); Zimi 2011, 17–18, figs. 5; 7. 67 See, e.g., the late 6th century BC terracotta relief from Larissa on Hermos: Dentzer 1982, 575–576, no. R 64, fig. 320; Boardman 1990, 129, 130, fig. 15. – On the sarcophagus from Golgoi on Cyprus: see above note 65. 68 Boardman 1990, 126, pl. 11a–b. 69 The man playing flute is shown in a symposion scene on the above mentioned silver girdle from Vani (Kacharava, Kvirkvelia 2009, 293, 294, fig. 48e). 70 Sini 1997, 162; Tsimbidou-Avlonti 2002, 94. See, for example, the images on the Campanian kraters of ca. 340 BC in the museums of Vienna and Naples: Dentzer 1982, 131, nos. VCa 9–10, figs. 121–122; ThesCRA II, 2004 s.v. Le banquet en Grèce (P. Schmitt Pantel, F. Lissarague), 245, no. 213; on the 4th century BC Attic kraters: Sini 1997, 159–165, figs. 1–3; 5. 71 The relief from Ödemiş: Dentzer 1982, 575, no. R 62, fig. 318; Miller 2011, 112. 72 Fabricius 1999. 73 Cf. Boardman 2000, 187. 74 Ebbinghaus 1999, 397–405; Valeva 2008, 20–22; 2009, 45, 48. 75 One more rhyton of that type is kept in Miho Museum: Cat. Miho 2002, 37 (ills.), 233, No. 19 76 Puschi, Winter 1902, 112–127, pls. 1–2, figs. 27, 31–32, 36; Simon 1967, 101–126; 1978, 74–76, figs. 71–74; Pfrommer 1983, 265–268, n. 157 (with lit.), figs. 31–32; Dörig 1987, 8–9, pl. 1,a– b; Giumlia-Mair, La Niece 1998, 139–145; Giumlia-Mair 2002, 126–131; Summerer 2006a, 137–138, pls. 1, 3; 2, 3; Valeva 2008, 22–23, fig. 39. 77 1974, 32–33, figs. 1–2; 1978, 55–60, figs. 50–51; Pfrommer 1983, 268–269, n. 164 (with lit.); Summerer 2006a, 135–143, pls. 1, 1; 2, 1; Valeva 2008, 20, 21, figs. 32–33. 78 Now in G. Ortiz collection, Geneva. Two rhyta in the form of deer heads: one – with the battle scene on the neck: Dörig 1987, 18, no. 13; Melikian-Chirvani 1993, 25–26, figs. 4, 7; Cat. Berlin 1996, no. 152; Summerer 2003, 35–36, fig. 12; Manassero 2007, 124–125, fig. 14c; Stoyanov 2010, 415. – Another – with a Dionysian scene: Melikian-Chirvani 1993, 24, 26, figs. 3, 5, 6; Cat. Berlin 1996, no. 154; Summerer 2003, 33–34, fig. 11; Manassero 2007, 123–124, figs. 14a; 16–17; Stoyanov 2010, 415. 79 Berciu 1969, 236–238, 259–260, fig. 11; pls. 135–136; 1974, 34–35, fig. 3; 1978, 58–62, 141, 143–144, figs. 54–57 (early 3rd century BC); Pfrommer 1983, 270; Luschey 1983, 329, no. B 25; pl. 60, 2; Ewigleben 1989, 27, fig. 2C; 30; Cat. Frankfurt 1994, 169, no. 51; Ebbinghaus 1999, 399 (with lit.), 401, 403, 418, fig. 8; Manassero 2008, 138, no. 9 (with lit.); 146–147, 163, pl. XLIII; Valeva 2008, 20–21, fig. 34. 80 Luschey 1983, 329, no. B 25. 81 Ewigleben 1989, 26–30. 128 Mikhail Treister. The Treasure of Silver Rhyta from Erebuni. I. The Calf-Head Rhyton 82 Ebbinghaus 1999, 403, 406. 83 1971, 140; 1974, 36; 1978, 60. 84 1978, 55–62, figs. 50–57; 70–76, figs. 66–74; 143–144; Pfrommer 1983, 281; Summerer 2006a, 139; Manassero 2008, 137–148. 85 at. Rome 2006, 72 (below left); 74–75; Manassero 2008, 137, nos. 2–3; 143, 145, 162, pl. XLII; Valeva 2008, 20, 22, figs. 35–36; Stoyanov 2010, 415–416, fig. 5. 86 2007, 47, fig. 3; 2008, 145–146, fig. 22; 2009, 20–61; Stoyanov 2010, 415–416, n. 48. 2008, 122–124, figs. 1–10; 87 Filow 1934, 166–169, figs. 182–183, Taf. 10; 1974, 35, fig. 4; 1978, 68–71, figs. 66–70; Cat. Cologne 1979, 154 (ill.), 160, no. 314; Pfrommer 1983, 268–269; Cat. Saint Louis 1998, 140–141, no. 66; Manassero 2008, 137, no. 1; 162, pl. XLII; Valeva 2008, 20–21, fig. 31. 88 Filow 1934, 163–171. 89 Filow 1934, 169–170, nos. 1–3; Pfrommer 1987, 178, n. 1290; 181. 90 Pfrommer 1987, 181, no. FK 147. 91 2007, 47; 2008, 146–147, fig. 24; Kitov, Dimitrov 2008, 26, 29, fig. 6. 92 2007, 47–48, fig. 5; 2008, 146, fig. 23; Kitov, Dimitrov 2008, 26, 29, fig. 5. 93 D. Agre, in: Cat. Rome 2006, 72. Cf.: third quarter of the 4th century BC (Valeva 2008, 22). 94 Kraay, Moorey 1981, 1–19. 95 Kraay, Moorey 1981, 17–18. 96 Pfisterer 2000. 97 Pfisterer 2000, 78; Summerer 2003, 38; Summerer 2006b, 272–273. 98 Manassero 2007, 123. 99 Pfisterer 2000, 79. 100 Summerer 2003, 39; Manassero 2007, 127 101 1978, 76–88, figs. 75–77, 79–86; Cat. Saint Louis 1998, 146 – 147, nos. 73–75; Cat. Bonn 2004, 227, no. 233d–f; Cat. Paris 2006, nos. 67-69; Cat. Basel 2007, 202, 204, nor. 137c–e. 102 1971, 154. 103 Hacătrian, Markarian 2003, 20; Stronach 2011, 270. 104 On the dating, see: Stronach 1978, 177; Williams 2005, 111. 129 И о о о я Ill. 1. The silver Treasure found at the foothill of Erebuni citadel. Erebuni Museum, inv.-nos. 19–22. 1 – the rhyton with a horse-and-rider motif; 2 – the rhyton with a horse protome; 3 – the goblet with a hole in the bottom; 4 – the rhyton in the form of a head of a young calf. 130 Mikhail Treister. The Treasure of Silver Rhyta from Erebuni. I. The Calf-Head Rhyton Ill. 2. The rhyton in the form of a head of a young calf. View of the right side. Erebuni Museum, inv.-no. 21. Photo, M. Treister. 131 И о о о я Ill. 3. The rhyton in the form of a head of a young calf. Views of the left side and the bottom. Erebuni Museum, inv.-no. 21. Photos, M. Treister. 132 Mikhail Treister. The Treasure of Silver Rhyta from Erebuni. I. The Calf-Head Rhyton Ill. 4. The rhyton in the form of a head of a young calf. Views of the right and front sides and the bottom. Erebuni Museum, inv.-no. 21. Photos, M. Treister. 133 И о о о я Ill. 5. The rhyton in the form of a head of a young calf. Details of the calf head. Erebuni Museum, inv.-no. 21. Photos, M. Treister. 134 Mikhail Treister. The Treasure of Silver Rhyta from Erebuni. I. The Calf-Head Rhyton Ill. 6. The rhyton in the form of a head of a young calf. Views of the horn from above. Erebuni Museum, inv.-no. 21. Photos, M. Treister. 135 И о о о я Ill. 7. The rhyton in the form of a head of a young calf. Detail of the figural frieze. A man seated on the throne. Erebuni Museum, inv.-no. 21. Photo, M. Treister. 136 Mikhail Treister. The Treasure of Silver Rhyta from Erebuni. I. The Calf-Head Rhyton Ill. 8. The rhyton in the form of a head of a young calf. Detail of the figural frieze. A woman playing double pipes. Erebuni Museum, inv.-no. 21. Photo, M. Treister. 137 И о о о я Ill. 9. The rhyton in the form of a head of a young calf. Detail of the figural frieze. A woman holding a phiale. Erebuni Museum, inv.-no. 21. Photo, M. Treister. 138 Mikhail Treister. The Treasure of Silver Rhyta from Erebuni. I. The Calf-Head Rhyton Ill. 10. The rhyton in the form of a head of a young calf. Detail of the figural frieze. A woman playing a kithara. Erebuni Museum, inv.-no. 21. Photo, M. Treister. 139 И о о о я Ill. 11. The rhyton in the form of a head of a young calf. Details of the figural frieze: 1 – a snake on the knees of the man seated on the throne; 2 – a woman holding a phiale; 3 – a kithara; 4 – a phiale; 5 – a woman playing double pipes. Erebuni Museum, inv.-no. 21. Photos, M. Treister. 140 Mikhail Treister. The Treasure of Silver Rhyta from Erebuni. I. The Calf-Head Rhyton Bibliography я . . 1971: я . . 1976: я . ., .Е . // . 1, 143–158. . я И. 2007: (III . . . – XIV . . .). ). 2002. .П . . VI–IV , 187–226 ( « 2004: . . ( . . . // ». . . .Ф .), . Г. 2007: ( ) // . 23, 44–57. Г. 2008: // ., ., , 138–163. . . III. // . . Excavations II. . . 1976: « ( .), . , 116–166, 230–234. Г. 2008: // . 65- » .( .), / Vani. Archaeological . ( .), - . , . , 122–124. И. 1974: E . . 1, 32–39. И. 1978: . . 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